machine-draft · no human review3 passages · 851 words
Work dossier · summary and historical context
Summary
Nisibis 13 is a memrā by Ephrem the Syrian, composed in 12-syllable meter with isosyllabic structure and internal rhyme, indicating oral performance. Dated to Ephrem’s Nisibis period (c. 350–363 CE), it references the city’s sieges and lacks later Edessene themes. The sole surviving manuscript (6th/7th c.) contains scribal corrections and a lacuna of about four lines. Quoted in the 9th-century East Syriac commentary of Theodore bar Koni as a proof-text for Nisibene martyr traditions, it is not included in the West Syriac liturgical cycle. The English translation follows Syriac word order closely, sometimes obscuring Ephrem’s syntactic parallelism.
Nisibis 13 is a rare witness to Ephrem’s early poetic output and to the development of Nisibene martyr traditions. Its triadic imagery (throne, hand, flock) and three-doors motif illuminate early Syriac ecclesiology and biblical exegesis. The work also provides insight into the historical memory of Nisibis’s bishops and the community’s response to siege and political change.
Historical context
Ephrem the Syrian (c. 306–373 CE) composed this memrā during his Nisibis period (c. 350–363 CE), before the city’s cession to Persia in 363. Nisibis was a major Christian center in Roman Mesopotamia, repeatedly besieged by the Sasanians. The work reflects the community’s experience of war and its veneration of local bishops, especially Jacob of Nisibis (d. 338). The Syriac language and poetic form (madrāšā) were typical of Ephrem’s liturgical teaching. The sole manuscript (6th/7th c.) survives in the East Syriac tradition; its quotation by Theodore bar Koni (9th c.) confirms its use among East Syriac Christians. The work’s absence from West Syriac liturgy suggests a limited circulation within the Church of the East.
background — historical or institutional context the text presupposes
term — a Coptic word and the rendering chosen for it
structure — the passage's function in the work
scripture — a biblical quotation or allusion
caution — uncertainty or a contested reading
sense — what the passage says
parallel — a parallel in another text or tradition
Pipeline notes
coverageNo English translation was located by an automated check of the source corpus and one library catalogue. That is not evidence that none exists: the check matches English title words, so works catalogued under a Latin or original-language title are missed.
limitThe English is a machine draft produced passage by passage from the transcribed Coptic; no human has verified it. The commentary is model-written and cites only keys the pipeline could resolve.
registerRegister: other in classical Syriac; the English keeps the liturgical formulae and the vocatives rather than normalising them.
On Mārī Jacob and on his companions
On the voice of the herald, Mārī came, all that she bore
Three priests, renowned in the pattern of two illustrious ones
They bore and delivered to one another the throne, the hand, and the flock
For much was the mourning of the two, the whole last one was in union
The assembly: to you is the praise that you chose the assembly
He who bore two illustrious ones chose for himself three illustrious ones
And he placed the assembly in three dark prisons that were
Of your knowledge, the pair of illustrious ones, the whole other was consumed
Three priests, treasurers who held fast to their truth
The key of the Trinity, three doors they opened for you
Each one of them with his key, at his time, opened his door
With the first, he opened the door to the rebellion that came against them
With the middle, he opened the door to the kingdom that descended upon them
With the last, he opened the door to the gospel that ascended against them
With the first, the door was opened to the war of both hosts
With the middle, the doors were opened to the kings of both spirits
With the third, the door was opened to the messengers of both sides
With the first, the door was opened to the war because of sins
With the middle, the door was opened to the kings because of adornment
With the last, the door was opened to the messengers because of mercy
Behold, in three streams, as in a mystery and in a pattern
Anger to the sun was likened, it began from the side of the first
And he prevailed against the middle one, he baptized and was destroyed in the last one. Also the sun shows three patterns in three seasons: its beginning sharp and shining, its middle strong and hard, and like a creature that is completed, its end sweet and gentle. The beginning of the deacons is slight and shining, it is a sign of the vigilant; its middle is hot and hard, a sign of the fruits that ripen; its end is beloved and gentle, for it has reached perfection. With that daughter, the daughter of the threshing-floors, who is sealed from all the cisterns, her channels have flowed here, and her ordinances have increased here, and her vines have ascended here, and her plantings have cried out here. Only for the daughter of Abraham were these likenesses, or for you, daughter of the threshing-floors, whose adornment is opposite her beauty. For according to her sacrifice is her service, and according to her service is her ministry. Opposite her deficiency, her fullness came to her. Her fathers are like her parents, and her plantings are like her separations. Her upbringing is like her increase, and her garments are like her statures. She weighed and gave grace, all of them as if in a measure. She placed her eyes on the interpretation that would be from them a service. She rejoiced her eyes in the channel that would be from them a completion. In the days of that first one, much was the commotion and the commotion ceased. In the days of that middle one, kings descended and kings ascended. But in the days of the last one, armies were subdued and armies ceased.
In the first one, types came up, came up with him, and went out with him.
In the middle one, he approached and withdrew, the crown that encircles the churches.
In the last one, however, that which descended to you is a grace that is not requited.
Against the first wrath, he offered the labor of the first one.
Against the shame of the noon, the shade of the middle one stood.
Against the oppressive heat, the last one increased his vigilance.
For the first bandage, the first priest and the physician applied it.
For the bandage of the two, the priest of the two, the compassionate one, applied it.
The prayers of the last one, however, multiplied its hidden portals.
The physician was fixed upon the waters, the hidden and revealed waters.
Eggs seek life within her; the river, glorious, is outside her.
The river outside, which deceived in her, the spring within preserves her.
The first priest, her cultivator, her branches grew in the sky.
Behold, he died and was buried within her; he had a fruit within her womb.
In the deception, when the cutters came, the fruit within her preserved her.
The time for her cutting had arrived, upon him who brought her cultivator,
so that he would not be a seeker upon her; she ran in her swiftness.
She placed her cultivator in her womb, so that she might be redeemed by the hand of her cultivator.
Similar are the discourses in the house of the physician to the physician,
that she placed a body within her, and it became a wall outside her.
The living body is placed in pain, so that it may become a wall for your life.